How diversity met universality at Cape Town Art Fair

When artists, enthusiasts and fun seekers converged at the 2018 Investec Cape Town Art Fair (ICTAF) in Cape Town, South Africa, expectations on what the fair has to offer were justifiably high. And for such an international event entering its sixth year, the eagerness to meet those expectations and even surpass previous achievements were glaring. […]

When artists, enthusiasts and fun seekers converged at the 2018 Investec Cape Town Art Fair (ICTAF) in Cape Town, South Africa, expectations on what the fair has to offer were justifiably high. And for such an international event entering its sixth year, the eagerness to meet those expectations and even surpass previous achievements were glaring.

Tapping into the wealth of expertise of their parent’s company, Fiera Milano S.p.A, organizers of the Miami Art Fair in Milan, organizers of the 2018 ICTAF said they were excited to have “produced an art-fuelled event of a quality previously unseen on the continent.”

ICTAF organizers seemed to be on point. Of note was the fact that some of the displayed art works, especially those by African artists exuded creativities, originality and excitement from the audience. Instructively, the diversities of thoughts that shaped the crafting of those works, in a way, also resonated convergence or universality in what is obtainable outside their immediate environment. In other words, while those works of art set out to portray developments within an artist’s immediate environment, they inadvertently mirror realities of what is obtainable elsewhere.

For instance, some works of Januario Jano, an Angolan artist, explored relationship between the past and present while also delving into the vestiges of colonialism that are still conspicuous on the streets of Luanda, some others also reflected the cultural identities of the “Ambundus”- a prominent tribal group in Angola. While Jano was perhaps thrilled that he was bringing to limelight, the special kind of fabric of Ambundus, he was inadvertently speaking to the Fulanis (a major ethnic tribe in northern Nigeria) whose pastoralists’ cloth is identical with the Ambundus of Angola.

Similarly, while the Kenyan-born Paul Onditi, though set out to capture the recurring “vicious circle” in human disruption of environment and other natural habitats, his use of space and landscaping can as well be interpreted to mean the representation of the artful mountains and valleys surrounding the beautiful city of Cape Town, South Africa. In other words, while Onditi had set out to reflect imbalance, disruptions and chaos in Kenya in what he titled: “Rupture I, II and III”, other creative interpretations can mean the zig-zag valleys or disjointed but artistically carved mountains of Cape Town and its surrounding environment.

Again, while Tuli Mekondjo had used her works Ovadali Vomapata, otherwise known as “Birthers of Clans” to demonstrate the Namibians’ beliefs in their ancestors, she also unconsciously connected with Yoruba, a major ethnic group in South West Nigeria. Her depiction of masquerades to represents ancestors or progenitors meant exactly as the same that the Yoruba will fondly reference as “the spirit of the forefathers living in the world beyond”. 

Mekondjo’s other artworks have bits of defiance and activism rolled into one. She did not shy away in using her works to denounce colonial disruption of African cultures, values and way of life. Her Oshishanisho Omhatela otherwise known as Omhatela Crown embodies the young artist’s “rebellious” tendency against western imperialism. According to her, the Namibian or African heritage as symbolized by Omhatela Crown is beautiful enough without western or colonial colouration. 

Mekondjo’s defiance shared semblance with the works of Angolan Januario Jano referenced above as well as that of Ivan Argote’s Acid History on the art stable of Perrotin. The Acid History is a metallic words construct that gives room for individual’s interpretation of what is represented. 

“Argote is not happy that words or interpretations generally are often seen from the western ideological perspective. He wants people to see his work from afar and give whatever interpretation that suits them to it. He believe in knowledge liberalisation,” Gloria Sensi, a media officer at the Perrotin’s ICTAF booth explained. 

But aside Argote’s Acid History, a stand- alone big Paola Bear at the Perrotin’s stand was indeed a centre of attraction for hundreds of visitors who participated in the 2018 ICTAF. Crafted in attractive pink, a curb was seen trying to climb the back of the bigger bear. Both the bear and its curb are parts of the larger similar works from Paola Pivi, a 47-year old Italian artist, who though, was not at ICTAF yet his artwork was attracting all attention.

Like Pivi, like Taiye Idahor. Idahor, a Nigerian artist was also not at the fair, but her works, put on display by the London-based Tyburn Gallery were cynosure of all eyes. Born at the culture-rich Benin City, the capital of the defunct Mid-west region in Southern Nigeria, Idahor grew up in the hustling-bustling city of Lagos, Nigeria’s commercial nerve centre.

“Her experiences, right from childhood helped to carve a niche for her and her works. For instance, the ‘Okhuo’ which we have on the wall here, represents the royal beads that is commonly associated with the rich cultural of heritage of Benin, the city where she was born,” Emma Menell of Tyburn Gallery said.

Yet, from the abstract artworks of Carlos Cruz-Diez to pictures and paintings at Christopher Moller Gallery as well as the repurposed paper beads works of Sanaa Gateja; Pretty Imprisoned of Alka Dass and Io Makandal’s Entanglement, among other numerous works, the 2018 ICTAF no doubt unraveled in deep artistic ingenuities and creativities.

But for Tumelo Mosaka, the Fair Curator, whatever that was put into the 2018 ICTAF was the sum total of efforts built in the five previous editions. The Fair, Mosaka said, has over the years offered a significant contribution to an increasingly active local market as a prominent platform for investment into the arts, helping to further Cape Town’s role as an economic and cultural access point into the African continent.

“Once again, Investec Cape Town Fair presents the best of contemporary art from around the world, with a focus on Africa,” Mosaka said. “We see artists examining the present and envisioning the future.” 

Mosaka’s enthusiasm was also shared by Laura Vincenti, the Chief Operating Officer the fair. “ICTAF 2018 displays our continued commitment to the promotion and development of African cultural sector. The fair offers a world-class setting for the display of the ingenuity and creativity of exhibiting artists, both established and emerging, to an ever-growing local and international audience,” Vincenti said.

An art enthusiast, Nosipho Blair who was also at the ICTAF 2018 did corroborate Mosaka and Vincenti’s positions on how art is being used to transform Cape Town and by extension re-projecting the African narrative. Blair said though, she was not financially prepared to buy any artwork that caught her fancy, she was nonetheless thrilled with the numerous amazing works artists and their galleries have put on display.

“Art is very active and very accessible in Cape Town,” Blair, a psychologist by profession said. “I developed the habit of visiting galleries at least once in a month here. It is a culture for us. There is what is called; Face-to-Face art is every month in Cape Town. It affords residents to go on sight-seeing and appreciation of artworks on display. And for those who may be interested in buying, such visiting do afford them the opportunity of where to put their money.”

At the heart of the Face-to-Face free art exposition that Blair referenced is the Association for Visual Arts (AVA), a Non Governmental Organisation for art practitioners in Cape Town which also has its booth at the ICTAF 2018. The NGO prides itself as one that collaborates with others to make art active, appealing and accessible to the residents of Cape Town.  

Nonetheless, art awareness is not universal across Africa. Sonia Ribeiro, Director, This is Not a White Cube Gallery (TINAWC) who curated Januario Jano’s works at the fair lamented that the kind of art awareness and activeness in Cape Town is still lacking in many African countries. Citing Angola, where she works as an example, Ribeiro said many artists are lacking in support especially financial assistance. She also identified lack of art education as another major challenge in this regard.

Curiously, lack of art education is not limited to Angola. It is the same malaise in Kenya, this, Paul Onditi’s curator at the ARTLab Africa gallery confirmed. She was however quick to add that art as a way of life and means of livelihood is now gathering momentum in the country and by extension other East African countries. Ribeiro also conceded that despite the challenges facing arts development in Angola, things are changing for the better in the last 25 years and it is expected to be better in the nearest future.

Interestingly, two establishments, also at the 2018 ICTAF, said they are more than committed to the future of art in Africa. While LALELA, a Non Governmental Organisation prides itself as one that is committed to providing “educational arts for at-risk youth to spark creative thinking and awaken their entrepreneurial spirits”, THE PROJECT SPACE said it has identified the critical role female artists will play in the future of art development in Africa and as such kick-started what now known as: The Young Female Residency Award for young female artists on the continent. For the duo (LALELA and The Project Space), ICTAF 2018 has shown the way and they are willing to combine resources so as to earn a better narrative for African arts, in the nearest future.